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"An example of a movie that pretty much has everything stacked against it and yet manages to succeed. Anderson adopts Altman and the Russion directors of the 20's and 30's and yet manages to be the anti-thesis of both. Intimate when they are distant or grandiose, and melodramatic where they are subdued. A movie that has to be seen to be understood. Though yes, to be fair, it is a Melodrama with an underscored "Melo" which did leave me distant at times, proceed with this in mind."

"A stroke of brilliance - though not intentional, which may be intentional. Let me explain: Beneath the surface of this movie is the interesting intellectual struggle between Freud and Jung. This is clad in an aesthetic of Victorianism, but unfortunately this stiffness and bore stems entirely from the how-to of making a historical romance in the 2000s. It movie never evolves beyond being a trite love story, without ever touching upon it's own minds deep. Irony thy name is Cronenberg."

"Soldiers in wartime are people with a job. Albeit a far more dangerous job that most of us will have. The movie unfortunately dips into a few moments of pathos, but the central point remains clear - these are not monsters, nor either are they heroes. Instead they are something we only find in the real world but yearn to tell about with narrative tools accostumed to fiction. These are people, and they are never treated as anything else. "

"Most people would say that 30's Hitchcock is not really worth revisiting. I decidedly beg to differ. Here old Hitch shows us a lot of what he is capable of before he wash more or less shoehorned into the boxes we associate him with now. First and foremost he is outright funny, not in his usual sly way, but plain and simply funny. And who would have thought, but it suits him excellently."

"The last 7-8 Bond movies have all tried to deconstruct him, prove him irrelevant or gloriusly have him leap around current trends, only to sort of prove that he was limping behind him. There is a lot you can't do in a Bond movie, so imagine my surprise when Mendes of all people find something that we didn't even know could be done: Making a Bond movie that was really about Bond, and with a final showdown thats pretty tense and un-lampoonable ... by Bond-standards, at least. Also: Roger Deakins!"

"If 'Dark Knight' was the Shakespeare and 'Godfather' of superhero films, then 'Rises' is the 'Les Miserables' and 'Lawrence of Arabia'. As is Nolans custom the strength isn't necessarily in the parts (the plot and a few characters have some airholes) but in how they all fit together. Even the two previous movies seem stronger in light of this one. This may not be the Batman movie for everyone, but Nolan makes the finale that both his trilogy and his Caped Crusader needs, deserves and earned. "

"I might be biased because I love Anders Matthesen, but this really verges on something sublime. A extreme consequence of the usual adolescent cartoon universe - friendship is important because adults are at best imperfect children, at most apathetic and at worst mortally hostile. It is wrongly compared to South Park and the like; This isn't about a childs world mocked or mocked-up by adults, this is a dirty world in childs height almost as told by kids, and it is almost unique in that aspect."

"It's no mystery why a lot of blockbuster sequels tried to ape the formula of this one, with varying degrees of succes. But in this case, this movie is the real deal. And to those few I have met who don't like this movie I have only this to ask: Whats it like being wrong all the time?"